The Rolling Stones - Steel Wheels mp3 album

The Rolling Stones - Steel Wheels mp3 album
Contemporary Pop/Rock,Hard Rock,Rock & Roll,Album Rock
  • Performer:
    The Rolling Stones
  • Title:
    Steel Wheels
  • Genre:
  • Style:
    Contemporary Pop/Rock,Hard Rock,Rock & Roll,Album Rock
  • Duration:
  • Recording Location:
    Air Studios, Montserrat
The Rolling Stones - Steel Wheels mp3 album

  • Size FLAC version
    1110 mb
  • Size MP3 version
    1167 mb
  • Size WMA version
    1162 mb
  • Rating:
  • Votes:
  • Formats:

Track List

Title/Composer Performer Time
1 Sad Sad Sad Mick Jagger / Keith Richards The Rolling Stones 3:35
2 Mixed Emotions Mick Jagger / Keith Richards The Rolling Stones 4:38
3 Terrifying Mick Jagger / Keith Richards The Rolling Stones 4:53
4 Hold on to Your Hat Mick Jagger / Keith Richards The Rolling Stones 3:32
5 Hearts for Sale Mick Jagger / Keith Richards The Rolling Stones 4:40
6 Blinded by Love Mick Jagger / Keith Richards The Rolling Stones 4:36
7 Rock and a Hard Place Mick Jagger / Keith Richards The Rolling Stones 5:25
8 Can't Be Seen Mick Jagger / Keith Richards The Rolling Stones 4:10
9 Almost Hear You Sigh Mick Jagger / Steve Jordan / Keith Richards The Rolling Stones 4:37
10 Continental Drift Mick Jagger / Keith Richards The Rolling Stones 5:14
11 Break the Spell Mick Jagger / Keith Richards The Rolling Stones 3:07
12 Slipping Away Mick Jagger / Keith Richards The Rolling Stones 4:30


Enrique Badulescu - Photography
Phil Beer - Fiddle, Mandolin
Michael Brauer - Mixing
Michael Butterworth - Mixing Assistant
Simon Clarke - Brass, Horn Arrangements
Matt Clifford - Arranger, Clavinet, Harmonium, Keyboards, Orchestration, Percussion Programming, Piano, Piano (Electric), Strings
Roddy Corimer - Brass, Horn Arrangements, Trumpet
Rupert Coulson - Assistant Engineer
Sarah Dash - Vocals (Background)
Pierre de Beauport - Band Technician
Alan Dunn - Logistics
Lisa Fischer - Vocals (Background)
Bernard Fowler - Vocals (Background)
The Glimmer Twins - Producer
Chris Jagger - Literary Editor
Mick Jagger - Arranger, Composer, Guitar, Harmonica, Keyboards, Shaker, Vocals, Vocals (Background)
Luis Jardim - Percussion
Louis Jardine - Percussion
Ted Jensen - Mastering
Steve Jordan - Composer
The Kick Horns - Brass, Horn, Horn Arrangements
Chris Kimsey - Mixing, Producer
Tony King - Art Coordinator
Chuck Leavell - Keyboards, Organ, Piano, Wurlitzer
Chuch Magee - Band Technician
Stephen Marcussen - Mastering
The Master Musicians of Jajouka - Guest Artist
Mark Norton - Logo Design
Christopher Marc Potter - Engineer, Mixing
Keith Richards - Composer, Guitar, Guitar (Acoustic), Guitar (Classical), Sound Effects, Vocals, Vocals (Background)
The Rolling Stones - Primary Artist
Tony Russell - Band Technician
Tim Sanders - Brass, Horn Arrangements
Paul Spong - Brass, Horn Arrangements
Al Stone - Mixing Assistant
John Warwicker - Art Direction, Design
Charlie Watts - Drums
Stewart Whitmore - Mastering
Ron Wood - Guitar, Guitar (Bass), Vocals (Background)
Bill Wyman - Guitar (Bass)

This album is a remarkable dyadic classification. The first half (until 'Rock and a Hard Place') mostly consists of corny, archetypical Rolling Stones songs that don't sound contemporary, matured at all (except the overall advantage that Jagger's awesomely roaring voice sounds stronger, more versatile than ever before). Furthermore, this half even consists of songs that sound so annoyingly obsolete and jumbled, in particular 'Sad, Sad, Sad', 'Terrifying' and 'Hold on to Your Hat'. The second song 'Mixed Emotions', the album's biggest hit, sounds not bad as it is a glanced blend of all the raw elements of any afore released, catchy big hit. So this first half sounds disappointing, but not merely worthless..But the track 'Rock and a Hard Place' pleasantly turns the foregoing tracks upside down: it is one of the both fastest, rawest and deepest songs ever made by the Stones. It uniquely bangs any rock and dance floor by its bombing rhythms without doing harm to the saddening, dramatic lyrics about the world in distress. Successively, 'Can't be Seen' is a set back to more shallow, corny, monotonous rhythms. But it is merely sung by Keith (contrary to the foregoing tracks) who unravels his hoarseness in a renewed way.'Almost Hear You Sigh' is a highlight: it has a very smooth, pleasantly rippling rhythm that perfectly goes together with the deep, intricate love despair in its lyrics. It sounds both typically R & B and intangibly introvert. 'Continental Drift' is an exotic song that reminds a little of the Stones psychedelic 'Their Satanic Majesties Request' album. It mostly consists of very mystic Moroccan folk tunes. But its shortcoming is that it hardly is not blended with any self evident, necessary Stones tunes.'Break the Spell' painfully turns the album's second half on the decline: it has a very faint, archetypical boogie woogie sound from the fifties that does not align at all with the rest of this album. And Mick annoyingly whispers in it..But the final track 'Slipping Away' remarkably compensates for the sudden relapse of 'Break the Spell'. It is a very slow, rippling, extremely soft rock song merely sung by Keith again. The first part sounds both a little shallow and monotonous, but the second half is a stunning shift to deeply moving, elusive gloom. The mantra alike chorus sounds like this album's perfect outro in the shape of a slow waterfall full of impressive senior aged tears. ''
It had taken three years and a pair of Jagger/Richards solo albums for the Rolling Stones to get their story straight. The resulting album, Steel Wheels, gets the band's engine running again and the results aren't half-bad. When focused, it's clear, clean rock and roll with a touch of experimentation, when not it falls victim to 80s production trickery. All in all, the record shows the Stones were far from dead, nearly 30 years in. This was the final Stones album with bassist Bill Wyman, who would leave the group in 1992. Key tracks are Mixed Emotions, Rock And A Hard Place, Almost Hear You Sigh, and Slipping Away.
This is an album that today (2016) rarely is mentioned and if so as a medicre or bad eighties album. Thing is I never really bothered with it at all until I decided to give it a shot (I had heard Sad Sad Sad and Mixed Emotions before). I was instantly impressed with the album. It ROCKS like perhaps no other Stones album. I don't know if some are just stuck in the far away past or so into "the blues" that they don't hear what I hear.I am usually a sucker (by Stones or many other bands) for ballads but "Blinded by Love" is definitely the weak number here. It just doesn't fit at all. Otherwise it's a quite long album where many songs are perhaps a bit longer than they need to be (Stones has often been musicially repetative so when the songs get a bit too long it gets too much). But that's about it in the complaint department. Since the albums has a nice fast tempo those "longer bits" doesn't drag like on many other records by the Stones.Overall. I'd say this is one of the most underrated albums by Stones and while it doesn't have the diversity of their best albums it surely surpasses many of the others in my book.If you are more into rock n' roll than anything else (folk, blues, pop) don't listen to the negative talk about this record and give it a shot. I am glad I did!
Classic great album that flows. Only one song "hold on to your hat doesn't make the A grade. Veteran pros rocking out and feeding souls with "almost hear you sigh," "blinded by love" and "slipping away." They break new ground with "continental drift" and "sad sad sad". ⭐⭐⭐⭐⭐
Steel Wheels feels like a return to form for the group, and it is perhaps underrated in the bands discography because it is so normal for the band. It sounds like The Rolling Stones have always sounded: confident arena ready, simple yet catchy, overly emotional. It is one of their best albums, regardless of the time it came out. Mick Jagger and Keith Richards, the songwriting duo, can’t write songs while they are fighting with each other and they did that for most of the late 1980’s. But they sound more unified than ever on this record, and it shows on tracks like “Heart for Sale”, a blues rocker to end all blues rockers; a song perhaps about their temporary break up, “Mixed Emotions”; old fashioned country-blues tunes such as the voodoobilly “Break the Spell” and the lyrically complex “Terrifying”, lyric sample: “I’m faithful as a swan /darker than bat / friendly as a bear but tougher than a rat”. Another fascinating thing about Steel Wheels is the depths the band goes to be unconventional. Towards the end of the album, “Almost Hear You Sigh” shows an influence from the late 80’s Peter Gabriel school of African influenced tribal soul. “Continental Drift” flirts with the music of John Hassell and Brian Eno, reaching a kind of haunting eclipse of primitive emotions. There is no normal structure to the song, it is pure avant-garde madness and proves the Rolling Stones are not done experimenting with their sound. There are a couple of generic rockers in the middle section of the record (Blinded By Love, Rock and a Hard Place”, Can’t Be Seen”) but it doesn’t hold back what is a very solid record overall. If ever there was a reason to listen to every single record a band puts out in a 50+ year career, it is to discover treasures like Steel Wheels. Truly, a good 1980’s Rolling Stones album!
"Steel Wheels" is decent, could have been worse. The Stones got back on track after returning to the stage. This album is just forgetful and far from a musical tragedy.Ranking:12. Hearts for Sale11. Hold on to Your Hat10. Break the Spell9. Can't Be Seen8. Terrifying7. Blinded by Love6. Rock and a Hard Place5. Continental Drift4. Almost Hear You Sigh3. Sad Sad Sad2. Slipping Away1. Mixed Emotions72/100
Steel Wheels reintroduces the properties that made the band great in the first place, namely strong songwriting and abundant diversity. It's certainly highly flawed, with weak ballads and some questionable guitar work from Richards, but it's undoubtedly the band's best album since Tattoo You, with a handful of strong songs and a nice dose of variety to prevent the album from growing monotonous (like its stylistically uniform predecessor). Most importantly it proved that the band was still capable of providing strong material, restoring their image in the minds of those scarred by their erratic eighties output.